Janet Rady

The new series features landscapes from geographically diverse sites encountered throughout my travels, marking a return to the motif of landscape as a critical means of addressing climate change, one of the existential threats that the Doomsday Clock addresses. The work responds to the rapid retreat of glaciers in regions such as Zermatt, the Matterhorn, and the Swiss Alps, as well as ecologically vulnerable locations in Australia, including Tasmania’s Federation Peak and Cradle Mountain. My practice engages with social agency as a strategy for confronting environmental and political crises that threaten our collective existence. Through a process of dissidence, connecting the dots between contemporary political and cultural figures, landscape becomes a site where power, responsibility, and historical memory intersect. This approach is informed by the concept of l’effondrement—societal collapse—as conflicts over resources, energy, and climate increasingly define our era Pictured: Anthony White- Le Valais-Oil on linen 141.5 x 142cm @janetrady /artist/anthony-white

Currently featured in our online exhibition The Human Presence: Narratives in Figure and Form, Zhao Gang’s Meritorious Man (2014) reflects the artist’s ongoing exploration of history, identity, and cultural memory. Born in Beijing in 1961, Zhao Gang was the youngest member of the Stars Group, one of China’s first avant-garde art movements. Having lived and worked between China and the United States, his practice often moves between personal memory and wider historical narratives, revisiting cultural symbols, political imagery, and questions of belonging through a bold and expressive painterly language. The Human Presence: Narratives in Figure and Form is online on our website and Artsy channel until 29 May 2026. Discover more details via the link in our bio.⭐️⭐️⭐️ Pictured above: Zhao Gang Meritorious Man, 2014 Oil on canvas 112 x 150 cm 44 1/8 x 59 in #ZhaoGang #JanetRadyFineArt #ContemporaryArt #FigurativeArt #ChineseContemporaryArt

Currently featured in our online exhibition The Human Presence: Narratives in Figure and Form, online on our website and Artsy channel until 29 May 2026, Romane De Watteville’s After Party (2021) captures a moment suspended in time.🍥🍥🍥 Born in Lausanne in 1993, De Watteville is a Swiss-French artist who lives and works in Lausanne. Her practice centres on figurative painting, often moving between portraiture, fragmented viewpoints, trompe-l’œil effects, and references to art history, cinema, fashion, and domestic life. In After Party, the scene is cropped from above, offering only traces of a body, a table, a glass, and an empty plate. The work feels both casual and carefully staged, turning the aftermath of a social moment into something quietly psychological. Discover more via the link in our bio.🍧🍧🍧 Romane De Watteville After Party, 2021 Acrylic on canvas 140 × 100 cm 55 ⅛ × 39 ⅜ in #RomaneDeWatteville #JanetRadyFineArt #ContemporaryArt #FigurativeArt #ContemporaryPainting

Recently visited TAROT: Origins, Cards, Fortunes at Accademia Carrara in Bergamo, on view until 2 June 2026.⭐️🌙☀️ The exhibition traces the evolution of tarot across seven centuries, from its beginnings as an aristocratic pastime in Renaissance courts to its later role as a divinatory tool and its continued influence on contemporary visual culture. At the heart of the show is the extraordinary reunion of the 74 cards of the Colleoni deck, brought together after more than a century. Alongside the historic decks, the exhibition also opens onto the tarot’s enduring appeal for modern and contemporary artists, with decks and works by figures such as Leonora Carrington, Niki de Saint Phalle, and Francesco Clemente. I really recommend seeing it if you have the chance, it’s a beautifully curated exhibition, and such an interesting way to look at tarot beyond fortune-telling. #AccademiaCarrara #LeonoraCarrington #NikiDeSaintPhalle #FrancescoClemente #ExhibitionVisit

Currently featured in our online exhibition The Human Presence: Narratives in Figure and Form, Peter Linde Busk’s Tannhauser (Green Sky) (2014) reflects the artist’s expressive and layered approach to the human figure. Born in Denmark in 1973, Linde Busk works across painting, printmaking, ceramics, and sculpture, creating figures that often feel suspended between myth, theatre, and memory. His works draw on art history, folklore, and storytelling, combining rich surfaces with distorted forms and a strong sense of psychological tension. The Human Presence: Narratives in Figure and Form is online on our website and Artsy channel until 29 May 2026. Discover more via the link in bio.🌸🌸🌸 Pictured above: Peter Linde Busk Tannhauser (Green Sky), 2014 Acrylic on linen 185.5 x 144.5 cm 73 x 57 in #PeterLindeBusk #JanetRadyFineArt #ContemporaryArt #FigurativeArt ContemporaryPaintin

Solo Exhibition Pantea Mahrou at London Art Fair 2026 Presented by Janet Rady Fine Art

I recently visited Shifting Crossroads. Beirut Contemporary at Saikalis Bay Foundation in Milan, and it was one of those exhibitions that stays with you long after leaving. I was also lucky enough to receive a guided tour, which made the experience even more moving. The exhibition brings together works by ten contemporary artists, including Mona Hatoum, Simone Fattal, Omar Mismar, Soraya Salwan Hammoud, Akram Zaatari, Lamia Joreige and others, exploring Beirut as a place of memory, rupture, transformation and constant reinvention. Through archival material, photography, video, sculpture and research-based practices, the show reflects on Lebanon’s layered history, from ancient trade routes and colonial borders to civil war, protest, destruction and rebirth. The exhibition is presented by Saikalis Bay Foundation, founded by Nicole Saikalis and Matteo Bay, with the aim of supporting emerging and established artists and creating dialogue between people, places and stories across borders. I would really recommend visiting,especially with the chance to slow down and understand the stories behind the works. Shifting Crossroads. Beirut Contemporary is on view until 3 July 2026.⭐️⭐️⭐️ #SaikalisBayFoundation #CircoloMilano #ContemporaryArt #LebaneseArt #ArtInMilan

In late March, the Vitruvian Art Collectors Club hosted its first private museum evening, in the Arab Hall at Leighton House, for the unveiling of Ramzi Mallat’s Atlas of An Entangled Gaze — a luminous canopy of thousands of blue-glazed ceramic nazar, suspended from Leighton’s Damascus-inspired chandelier in the room he built around tiles from Damascus, Iznik and Persia. ✨ A young Lebanese artist in direct conversation with a Victorian Orientalist space. Mallat’s first UK institutional commission marks the centenary of Leighton House. With huge thanks to @ramzimallatstudio @leightonhousemuseum , to Hannah Lund for the wonderful tour, and to our partners on the night: @janetradyfineart , @halipublications and @miragoesinsta The review is now live — link in bio. Atlas of An Entangled Gaze on view until 13 May. 📸 Photography by Jonathan Milton #LeightonHouse #RamziMallat #MiddleEasternArt #IslamicArt #ContemporaryArt #OrientalistArt #ArabHall #VitruvianArtCollectorsClub

Currently featured in our online exhibition The Human Presence: Narratives in Figure and Form, William Scott’s Untitled (2013) reflects the artist’s distinctive approach to architecture and imagined urban space.🏙️🏙️🏙️ Born in San Francisco in 1964, Scott is a self-taught artist whose work often reimagines the city through a deeply personal lens. His detailed architectural compositions combine observation and fantasy, transforming familiar buildings into spaces that feel both real and visionary. In this work, Scott depicts Fox Plaza with a bold sense of structure, turning the urban landscape into something playful, monumental, and full of character. The Human Presence: Narratives in Figure and Form is live on our website and Artsy channel until 29 May 2026. Click on the link in our bio to discover more!⭐️ William Scott Untitled, 2013 Acrylic on paper 28.5 x 22.5 cm 11 1/4 x 8 7/8 in #WilliamScott #TheHumanPresence #JanetRadyFineArt #ContemporaryArt #FigurativeArt

A few moments from my visit to the Fundació Joan Miró in Barcelona. I’ve always loved how Miró’s work feels so simple at first, but the longer you look, the more you notice. The foundation itself is such a beautiful space too, full of light and quiet corners. Definitely one of my favourite stops from the trip.⭐️ #FundacióJoanMiró #JoanMiró #Barcelona #BarcelonaArt #JanetRadyFineArt

Now live on our website and Artsy channel until 29 May 2026, The Human Presence: Narratives in Figure and Form includes Benoît Platéus’ Untitled (2015), a work that reflects the artist’s distinctive approach to collage, appropriation, and the shifting nature of visual meaning. Composed of overlapping photographic fragments, blocks of colour, and shifts in scale, the work disrupts any straightforward reading of the image. The partially obscured central figure hovers between revelation and concealment, inviting the viewer to question what is seen, remembered, and constructed. Through layering and interruption, Platéus foregrounds the fragmented nature of visual experience and the ways images shape our perception. Working across painting, collage, sculpture, and photography, Platéus has built an internationally recognised practice centred on abstraction and conceptual enquiry. His work has been exhibited at institutions including Palais de Tokyo, Paris, and Art Sonje Center, Seoul, and is held in major public collections including the Fond National d’Art Contemporain, France, and the Musée d’Ixelles, Belgium. Discover more by clicking the link in our bio!⭐️⭐️⭐️ Pictured above is: Benoît Platéus Untitled, 2015 Collage on canvas 137.2 x 121.9 cm (54 x 48 in.) #BenoitPlateus #JanetRadyFineArt #ContemporaryArt #OnlineExhibition #ContemporaryArtist

Brittany Miller’s Babel (2021) is featured in our current online exhibition, The Human Presence: Narratives in Figure and Form, on view on our website and Artsy until 29 May 2026.🌸 Miller’s practice centres on figurative painting, using line, repetition, and pattern to construct psychologically charged interior scenes. In Babel, a reclining figure appears within a densely patterned environment, where the distinction between body and surrounding space begins to blur. Through layered marks and decorative structures that oscillate between interior and landscape, Miller creates a scene of quiet dislocation, inviting reflection on introspection, isolation, and emotional tension. Pictured: Brittany Miller Babel, 2021 Oil on canvas 152.4 x 182.9 cm / 60 x 72 in Discover the exhibition through the link in bio.⭐️⭐️⭐️ #BrittanyMiller #TheHumanPresence #JanetRadyFineArt #ContemporaryArt #FigurativePainting